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A House Without Function
In the present time the architectural discourse has been shifted to a purely political
and programmatic agenda. You are requested to take an antithectical position in
order to think about architecture in its most essential and fundamental values.
The current tendency implies a hierarchical order that doesn't consider composition
and tectonics until the end of the development of a project.
The aim is to revert the normal sequence of the design process. Architectural
choices will define a project based on pure spatial qualities rather than economic or
programmatic organisation.
You are requested to design a house. The house will be a place suitable for human
scale. A primary space that is conceived through your own intimate, personal and
critical vision of architecture.
Is it then possible to imagine architecture without site and program? If so how can
they complement initial spatial qualities? In the final moment you should
investigate these questions and reflect upon them.
1 Section
1 Plan
1 View/Rendering/Illustration/Collage
A reflection of max 150 words about the project
Background
Task
Minimum requirements
2/4
Your competition entry will be evaluated based on the following criteria:
1. Spatial output: coherence with the task expressed through composition and tectonics
2. The statement: reflection that supplements your spatial output
3. Representation: clarity and quality of the graphics
Your proposal must be presented on two landscape oriented A3 sheets. All text must be
in English. All delivered material must be marked with your team number, presented
clearly in the bottom right-hand corner of BOTH your boards. Your boards must not
include ANY information that may give away your identity. Do NOT include the team
name on your boards, only the team number. Your A3 sheets should be uploaded to
www.120hours.no within the deadline of Saturday 5th of March 2016 at 14.00 (UTC+1).
See “Delivery” section for more information on file names and sizes.
Any infringements of the instructions above will lead to automatic disqualification, and
will not be considered by the jury.
Remember that your project will be one of very many, so make sure your boards are
crystal-clear and stand out!
Evaluation
Christian Kerez - Beate Hølmebakk - Marina Montresor
Maria Shéhérazade Giudici - Neven Mikac Fuchs
Jury Members
Format
Landscape format
YES
Portrait format
NO
2 x A3
team xxxx
team xxxx
Write the team numbers
on both the A3s
3/4
Please read this information very carefully.
You are going to make FOUR files for the upload process:
* teamXXXX - insert your own team number
IF YOU FAIL TO FOLLOW THESE INSTRUCTIONS WE WILL AUTOMATICALLY
DISQUALIFY YOUR PROPOSAL, SO PLEASE MAKE SURE THAT YOU HAVE USED
THE CORRECT FILE NAMES WHEN YOU UPLOAD YOUR PROJECT. YOU WILL
ALSO ONLY BE ABLE TO UPLOAD YOUR PROJECT ONCE, SO BE SURE TO
CHECK THAT YOU ARE UPLOADING THE RIGHT FILES, BECAUSE WE WILL
UNDER NO CIRCUMSTANCES CHANGE THE FILES FOR YOU.
If you have any questions, you may search for answers in the online FAQ and our
Facebook page, or send us an e-mail at contact@120hours.no Remember to mark the
e-mail with your participant code.
Good luck!
High-resolution PDF containing both A3 posters for your project. This file will be
used for the exhibition. THE MAXIMUM FILE SIZE IS 20MB FOR THIS FILE.
THE NAME OF THE FILE YOU SHALL USE IS: teamXXXX-large-PDF.pdf
Low-resolution PDF containing both A3 poster of your project. This file will be
used for the jury process. THE MAXIMUM FILE SIZE IS 2MB FOR THIS FILE.
THE NAME OF THE FILE YOU SHALL USE IS: teamXXXX-small-PDF.pdf
FOR PRINT: High-resolution illustration of your project. This is the main
illustration for your project. This can be a render, picture, collage, model photo,
drawing etc. This file will be used for our web page and promotional purposes.
THE FILE FORMAT MUST BE A JPEG, WITH 300DPI RESOLUTION. THE
MAXIMUM FILE SIZE IS 5MB FOR THIS FILE.
THE NAME OF THE FILE YOU SHALL USE IS: teamXXXX-large-JPEG.jpeg
FOR WEB: Low-resolution illustration of your project. This is the same illustration
as the High-resolution illustration. This file will be used for our web page and
promotional purposes. THE FILE FORMAT MUST BE A JPEG, WITH 72DPI
RESOLUTION. THE MAXIMUM FILE SIZE IS 500KB FOR THIS FILE.
THE NAME OF THE FILE YOU SHALL USE IS: teamXXXX-small-JPEG.jpeg
4/4
Delivery
1.
2.
3.
4.

icomos

Imbued with a message from the past, the historic monuments of generations of people remain to the present day as living witnesses of their age-old traditions. People are becoming more and more conscious of the unity of human values and regard ancient monuments as a common heritage. The common responsibility to safeguard them for future generations is recognized. It is our duty to hand them on in the full richness of their authenticity. 

It is essential that the principles guiding the preservation and restoration of ancient buildings should be agreed and be laid down on an international basis, with each country being responsible for applying the plan within the framework of its own culture and traditions. 

By defining these basic principles for the first time, the Athens Charter of 1931 contributed towards the development of an extensive international movement which has assumed concrete form in national documents, in the work of ICOM and UNESCO and in the establishment by the latter of the International Centre for the Study of the Preservation and the Restoration of Cultural Property. Increasing awareness and critical study have been brought to bear on problems which have continually become more complex and varied; now the time has come to examine the Charter afresh in order to make a thorough study of the principles involved and to enlarge its scope in a new document. 

Accordingly, the IInd International Congress of Architects and Technicians of Historic Monuments, which met in Venice from May 25th to 31st 1964, approved the following text:

DEFINITIONS

Article 1. The concept of a historic monument embraces not only the single architectural work but also the urban or rural setting in which is found the evidence of a particular civilization, a significant development or a historic event. This applies not only to great works of art but also to more modest works of the past which have acquired cultural significance with the passing of time.


Article 2. The conservation and restoration of monuments must have recourse to all the sciences and techniques which can contribute to the study and safeguarding of the architectural heritage.


Article 3. The intention in conserving and restoring monuments is to safeguard them no less as works of art than as historical evidence.

Article 4. It is essential to the conservation of monuments that they be maintained on a permanent basis.

Article 5. The conservation of monuments is always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not change the lay-out or decoration of the building. It is within these limits only that modifications demanded by a change of function should be envisaged and may be permitted.

Article 6. The conservation of a monument implies preserving a setting which is not out of scale. Wherever the traditional setting exists, it must be kept. No new construction, demolition or modification which would alter the relations of mass and colour must be allowed.

Article 7. A monument is inseparable from the history to which it bears witness and from the setting in which it occurs. The moving of all or part of a monument cannot be allowed except where the safeguarding of that monument demands it or where it is justified by national or international interest of paramount importance.

Article 8. Items of sculpture, painting or decoration which form an integral part of a monument may only be removed from it if this is the sole means of ensuring their preservation.


RESTORATION


Article 9. The process of restoration is a highly specialized operation. Its aim is to preserve and reveal the aesthetic and historic value of the monument and is based on respect for original material and authentic documents. It must stop at the point where conjecture begins, and in this case moreover any extra work which is indispensable must be distinct from the architectural composition and must bear a contemporary stamp. The restoration in any case must be preceded and followed by an archaeological and historical study of the monument.

Article 10. Where traditional techniques prove inadequate, the consolidation of a monument can be achieved by the use of any modern technique for conservation and construction, the efficacy of which has been shown by scientific data and proved by experience.

Article 11. The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration. When a building includes the superimposed work of different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest and the material which is brought to light is of great historical, archaeological or aesthetic value, and its state of preservation good enough to justify the action. Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work.

Article 12. Replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence.

Article 13. Additions cannot be allowed except in so far as they do not detract from the interesting parts of the building, its traditional setting, the balance of its composition and its relation with its surroundings.


HISTORIC SITES

Article 14. The sites of monuments must be the object of special care in order to safeguard their integrity and ensure that they are cleared and presented in a seemly manner. The work of conservation and restoration carried out in such places should be inspired by the principles set forth in the foregoing articles.


EXCAVATIONS

Article 15. Excavations should be carried out in accordance with scientific standards and the recommendation defining international principles to be applied in the case of archaeological excavation adopted by UNESCO in 1956. Ruins must be maintained and measures necessary for the permanent conservation and protection of architectural features and of objects discovered must be taken. Furthermore, every means must be taken to facilitate the understanding of the monument and to reveal it without ever distorting its meaning. All reconstruction work should however be ruled out "a priori". Only anastylosis, that is to say, the reassembling of existing but dismembered parts can be permitted. The material used for integration should always be recognizable and its use should be the least that will ensure the conservation of a monument and the reinstatement of its form.


PUBLICATION

Article 16. In all works of preservation, restoration or excavation, there should always be precise documentation in the form of analytical and critical reports, illustrated with drawings and photographs. Every stage of the work of clearing, consolidation, rearrangement and integration, as well as technical and formal features identified during the course of the work, should be included. This record should be placed in the archives of a public institution and made available to research workers. It is recommended that the report should be published.  

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Architectural preservation has reached a point where it has to go beyond questions of resurrection and permanence. Now is the time to experiment. Now is the time to break out and challenge conventions of restoration and protection. We are witnessing a paradigm-shift as we enter a time where not only our perceived heritage is being protected, but even our newly constructed environments. As an increasing number of buildings become listed upon completion, they enter an absurd state of presence, averting any potential pain of seeing our ideals and models fail the test of time, by immediately administrating the painkillers of preservation. How then can we create an environment that may broaden the scope of architectural preservation, open to new interpretations? This year’s assignment reexamines the methods and tools of contemporary architectural preservation and seeks an answer to this very question.

AUTHORSHIP AND AUTHENTICITY
Looking back at the history of preservationist practice and discourse, it becomes clear that two main topics of controversy are the concepts of authorship and authenticity. Is there - or indeed can there be - a single author of a work of architecture, or are there many? And given that all architecture interacts with its context, what then of the claim to authenticity?

A building does reach its final state upon completion. On the contrary, it is the process of building that comes to an end. The completed work, now brought into context, becomes part of the social fabric and emerges instead as an entity in constant dialogue with its surroundings, all the while changing and adapting accordingly. How then, can we determine the level of authenticity when the very notion of the “original” is fleeting at best? Over the course of history, the answers to this question have been many,andoftenconflicting.Notleastacrosscultural borders, each with their own distinct set of beliefs

The first instances of preservation as a tool for conserving and transforming the built environment appear in nineteenth-century Europe, during a period of industrial and social revolutions. The emergence of romanticism and historicism brought about not only a wish to protect that which is considered as historical, but also a desire to improve it. Preservation became an act of comprehensive historical appropriation - an associative interpretation of our historic heritage, re-enacting and activating history. This tendency, on the one hand, extended the notion of authorship and authenticity as something transmittable,whilemaintainingthebeliefthatthe creative author could determine and legitimise the work of art as inseparable from time.

The drive to preserve our historical heritage gained additional momentum with the emergence of a series of legislations, most notably the Venice Charter of 1964. that sought to secure international decrees on preservation. As a result, preservation came to be regarded as a global phenomenon with universal ideals, a practice that still dominates to this day
Bungalow Germania (2014), Alex Lehnerer and Savvas Ciriacidis, 14th International
Architecture Exhibition – la Biennale di Venezia
Experimental preservation
Preserving the future
Appendix, 120 HOURS 2015
under the watchful supervision of institutions such as UNESCO. Largely based on Western traditions, however, its universal application can be questioned in the face of other, especially Eastern, traditions, where the notion of authenticity is a lot more fluid and the question of authorship a lot less relevant.


“To restore an edifice means neither to maintain it, nor to repair it, nor to rebuild it; it means to reestablish it in a finished state, which may in fact never have actually existed at any given time.”1
In his recent publication “Preservation is overtaking us”, Rem Koolhaas argues that, throughout modernity, the very idea of preservation is borne as a testimony to the fact that the first laws for preservation emerge in the richest phases of modernisation. In the age of invention, improvement and evolvement, there is an increasing tendency to leave old things behind. Therefore “... the whole idea of modernization raises, whether latently or overtly, the issue of what to keep.”2

In recent decades, and spurred on by post- structuralist thought and the ambiguities of originality, the romantic paradigm of historical aestheticism has met with criticism for its practice of measuring a work’s authenticity based solely on the criteria of architectural “authorship”. Indeed, many would argue that it is high time to question the determining role of the “sole architectural inventor”. Citing Jorge Otero-Pailos, the idea of architectural preservation is not only to reveal something that is already present, but also to “... disclose architectural dimensions of buildings that were unintended by its “original”.3 According to Otero-Pailos, historic preservationists are more than extenders of some original architectural intent, they are what he labels “creative agents”, who engage with architecture and transform it into something new.

The level of authenticity is thus put into question, especially beyond our immediate notions of originality and authorship as something permanent. Needless til say, a work of art does not come about by itself, it needs an instigator. But through our experience and interactions, we ourselves become both authors and designers of its meaning. Works of architecture exist over multiple moments in time and, as such, have no “correct” stages of being. Preservation in this sense evolves from being mere reconstruction, as its design intervenes with the architecture in different stages of its being, and questions its original physical emergence and its source of inspiration.

EXPERIMENTAL ARCHITECTURE AS A PROFESSION

Experimental preservation takes on the pressing need for expanding our notions and perspectives on the overall conditions and significance that constitute our common cultural heritage. As a growing discipline within the field of architecture, it not only revitalises the architectural debate, but challenges our profession to seek out new knowledge, methods and collaborative ventures with other disciplines. In light of the expanding field of preservation in general, armed with a progressive mindset and unconstrained by convention, experimental preservation can thus lend new relevance to our profession. Perhaps even as a profession unto its own, it could bridging the gap between conservation and architecture, being better equipped to bring new relevance to our extensive cultural heritage.

MEMORY

Remembering and unlocking parts of our history are essential components of preservation. In many ways, architecture starts and ends with preservation. To
Earth Room (1977-), Walter de Maria
Splitting (1974), Gordon Matta-Clark
engage in the historical environment, we must take into account the history of a place, and in doing so, reflect upon the values borne from history and past events that have shaped society’s collective memory. In this way, architecture and preservation become expressions of sets of memories, embodied both in the individual as well as in the collective. As such, perhaps the role -and social responsibility – of preservation is to critically interpret and conceptualise these memories.

In the case of Pyramiden, the site of this year’s competition, the architecture as bearer of memories becomes all the more important. The town was deserted over the course of a few summer months in 1998, and the chilling absence of living memory is everywhere, from the empty production lines and their eery silence, to the broken-glass windows of the empty rooms. This paradoxical presence is enhanced by the fact that these shared grounds not only embody the memories of a unique Soviet community outside of the Iron Curtain, but also the remarkable human efforts of adaptation to an Arctic climate. By reinterpreting Pyramiden in its contemporary context, experimental preservation can bring to life its remarkable history and impart on it a lasting relevance for the future.

Başıboş Gezintiler - 1

 Okulumun tadilatta olması ve bir ay geç açılmasından dolayı işsiz güçsüz dolaştığım, boş boş gezinip fütursuzca zaman katlettiğim, dışarı çıkmak için kendime; "Kütüphaneden kitabı alalı 1 hafta oldu, hemen vermen lazım.( İki ay geri götürmediğim kitaplar olmasına rağmen)", "Kotonda Tshirt, plaj şortları ve mayolarda yüzde 5 indirim varmış kaçırmamalısın." gibi bahanelerle bu katledilmiş zamanlara intihar süsü verdiğim günlerden biriydi.


Herneyse, Mecidiyeköy' e gitmek üzere metronun Taksim girişine doğru seğirttim. İçim nasıl kıyılmış. Dedim şuradan bir simit alayım da yiyerek giderim. Seyyar simitçiye doğru yöneldim. Simitçi eski püskü kıyafetler giymiş sırtında bol bir yelek, elinde de saz bulunduran yaşlıca bir adamla memleket sohbeti yapıyordu. Tam "Bir simit çek oradan." diyecektim ki ne göreyim, simitçinin konuştuğu adam ERKAN OĞUR ' du.

- Vay Erkan abim, nasılsın abim, İsmail Hakkı abimiz yok mu? abim dedim, bütün yılışıklığımla.
- Onun ben amınakoyim. İkide bir sorup durmayın şu adamı bana. Biz iş arkadaşıyız yalnızca. Sivil hayatta sevmiyorum oğlum ben o herifi dedi.
- Ya kusura bakma abi, ben siz birlikte o kadar konsere çıkınca dost bildim sizi dedim. Kırılmıştım.
- Herneyse üzülme dedi. Biraz sinirliyim de kusura bakma. 

Hala inanamıyordum. Erkan Oğur karşımdaydı bir yandan simitçiyle sohbetine devam ediyor bir yandan da çatal yiyordu. Gerçi elindeki çatalı görünce bir yadırgamadım değil. Koskoca Erkan Oğur' sun çatal yiyorsun. Tamam lüksü, müsrifliği sevmiyor olabilirsin de çatal ney lan. Simitçiye; "Doğru söylüyorsun da Ankara' da gezecek bir yer yok. Bir merkez bir de Barlar Sokağı. Ben sevmiyorum pek. Bülent çağırmıştı gitmiştim bir kere ama bir daha gitmem." dedi. "Lan" dedim içimden, "Sen sivil hayatta mesleki kimliğinden ne kadar uzak bir adammışsın, bu yaşta hala üniversiteliler gibi Ankara muhabbeti yapıyorsun" dedim. Aniden beni işaret edip;

- Kardeşime bir Çatal çek. Benden! dedi. "Benden"i vurguladı.
- Sağolasın Erkan Abi. Ben de zaten Çatal alacaktım dedim. Olabildiğince yaranmaya çalışıyordum. Ya Erkan Abi dedim. Sen arada bir benimle gezsen. Ben sokaklarda gayesiz sürterken, sen de perdesiz gitarında doğaçlama dolaşsan, ağzını burnunu yamultsan, sonra okula gitsek, ben "o kız" görünce sen Matthias Passion' u patlatsan o yanık sesinle, ben senin sesinle erisem, aksam yavaşça, "o kız" ın ayaklarının dibindeki bir oluğa biriksem, olmaz mı? dedim. "Hem senin de yaşın kemale erdi. Artık bir bakanın olmalı. Yarın bir gün muhtaç kalmak var, yatağa düşmek kötürüm kalmak var. Bak İsmail Hakkı abiyle de aranız açıkmış o da sana bakmaz.  Ben de o vakit sana bakarım. Ödeşiriz" dedim.
- Olur dedi.

Elimizde çatallarla metroya doğru yürüdük.

Masumiyet Müzesi'nde liseden bir tanıdık

     Orhan Pamuk, bilet fiyatlarını eleştirilerine, bir basın açıklamasıyla cevap verdi.



Orhan Pamuk' un Masumiyet Müzesini biliyorsunuzdur. Kitabı okuduktan bir müddet sonra ben de kitabı koltuğumun altına alıp müzeye seğirttim.

Kitabın bimemkaçıncı sayfasından kesip yanıma aldığım biletimi damgalattım. Gişedeki herif damgayı biletteki boşluktan dışarı taşırdı. Gerek yaratılışım gerek mesleki eğitimimin bana aşıladığı simetri takıntısı gereği o damga daireyden taşınca ben birisi karşımda limon yemeye başlamış gibi rahatsız oldum. Sanki sakallarıma ağda yapılmış, hoşlandığım kız fakülteye getirdiğim lise arkadaşımla kendisini tanıştırmamı istemiş, üç saatlik proje çizimi ardından elektrikler kesilmiş ve save edilmemiş çalışma kaybolmuş gibi acı çektim.

Herneyse. Ayrıntılara girmeden çabucak sadede gelelim. Müzede yaklaşık bir saat geçirmiştim ve henüz ikinci kattaydım. O gün müze oldukça yoğundu. Yerli ve yabancı ziyaretçilerle doluydu. Birinci katı gezdikten sonra ikinci kata çıkmak üzereyken liseden tanıdığım bir kızı gördüm.

Bu kızla mezun olduktan sonra en son sahafın birinde karşılaşmıştım. Pazarlık esnasında takındığım tavrı ve şive değişikliğini görmesin, adeta bir mahalle esnafı, bir çiğerci "Ömer usta", bir manifaturacı "Durmuş Abi" olduğuma şahit olmasın diye, sahaf ne istediyse verdim. Senelerdir unutmadım o günü. Gala çok koyar bana ödediğim o para.

Velhasıl ben bu kızı görünce üst kata çıkmaktan vazgeçtim. Hemen oracıkta, ziyaretçilerin okuması ve kitap hakkındaki bilgilerini tazelemesi adına bırakılmış kitaplardan birini alıp, inceliyormuş numarası yapmaya koyuldum. Kız vitrinleri hızlıca geçtiğinden çok beklemedim. Önüme doğru geldi, ben ise o anda saf ve düşünceli okuyucu rolümün doruklarındaydım.

Yüzüme bile bakmadan üst kata çıktı. Ben ise hiçbir zaman olmadığı gibi bu sefer de pes etmedim; " Ben o 550 sayfayı okumuşum arkadaş, ben bu kıza caka satmadan ölmeyeceğim!" deyip bir çırpıda üst kata çıktım. Bu sefer üst kattaki kitaplardan birini alıp okuyormuşa yattım. Kız vitrinleri bitirip önüme geldiğinde öksürdüm, gözgöze geldik, şaşırmış gibi yaptım.

- A Kadir. Nasılsın ne yapıyorsun? diye sordu.

- İyiyim canım. Yoruldum da biraz kitabı okuyayım hem dinlenirim diye düşündüm. Sen nasılsın?

Bir müddet fısıldaşarak çok tatlı bir sohbet sürdürdürk. Bittabi bu sohbet esnasında kitaptan sayısız alıntı yaptım. O da kitaptaki bir ayrıntıdan bahsedecekti ki, tam olarak hatırlayabilmek için elimdeki kitabı istedi. Uzattım.

O kitabı incelerken, ben de bir muzaffer edasıyla başarımı kutluyor, müze çıkışında kendisini nereye davet etsem diye düşünüyordum. Birden kafasını kaldırdı:

- Kadir dedi. Bu Masumiyet Müzesi' nin Fransızca basımı dedi. Sen Fransızca biliyor musun ?

Ulan ben bir yandan kızla aramdaki mesafeyi kontrol etmek, bir yandan da olası sohbet esnasında sarfedeceğim cümleleri tasarlamaktan kelimelere bakmamıştım. Kitabın kapağı zaten kahverengi hamur cilt. Oradan da anlaşılmıyor. Gerçi başta kıllanmamış değildim. Aşağı katta okuduğum türkçe kitap, çalınmasın diye pencere pervazına zincirlenmiş, bu kitap ise öylece ortadaydı.

Herneyse kız öyle sorunca ben de aklıma ilk gelen cevabı verdim.

- Ben okumuyordum ya, resimlerine bakıyordum.

- Resim mi var bu kitapta.

- Var tabi. Bak bilet var burada, sonracığıma haritalar var büssürü..

Hasılı kız üst kata çıkalım bari dedi. Ben de bir lağabaya kadar izin istedim. Akabinde müzeden koşarak uzaklaştım.

19. yüzyıl Petersburg' unda bir tanıdık

"Osmaniç! Efendi Osmaniç!" diye haykırarak içeri girdi evimizin sadık müstahdemi Vamirov Rebelyev. Odada beni uygunsuz vaziyette görünce kanı çekildi.

 - Rebelyev. Kuzum allahaşkına, ne zamandır odama böyle çatkapı girebiliyorsunuz anunakoyim. dedim.
 Utancını gizlemeden şöyle yanıtladı;
-Lütfen özrümü mazur görünüz ve beni dinleyiniz, eğer ehemmiyetli bir mesele sözkonusu olmasaydı sizi bu şekilde rahatsız etmezdim ancak babanız sizi çağırmamı emretti.

" Reblevyev, dedem yaşında adamsın kendine küfrettireceksin. O halde direkt konuya girsene ne uzun uzun cümleler kuruyorsun."


***

"Buyrun babacığım, beni çağırmışsınız" dedim.

" Evet sizi çağırdım mahdumum Aleksey Ivan Drago Osmaniç. Sizinle biraz konuşmak istiyorum " dedi.Ne zamandır sizli bizli konuşuyorduk anlamadım. Zaten ne zaman böyle arkasını bana dönüp ellerini arkadan bağlayıp, duvardaki büyük dedemin tablosunu seyrederek benimle konuşacağını söylese kesin bir bok yemişimdir. Üç dakikalık konu için yine yarım saat kafamı sikecek diye düşündüm.

" Sevgili Aleksey" dedi. "Dün gece arkadaşın Felipe Melov' un evinde kalmışsın. Rebelyevin aktardığına göre de körkütük sarhoşmuşsun. Ne demek oluyor bunlar?"

" Votkayla birayı karıştırmışım babacığım o sebeple" dedim. "Yoksa biliyorsunuz biz votkayı damardan alırız gardaş "

"Siz benim iznim olmadan davetiyelere katılıp ijki mi içiyorsunuz" dedi ve ekledi. "Babanız olarak Felipe Melovla arkadaşlığınızı tasvip etmediğimi size daha evvelden bildirmiştim. İşi gücü sabahtan akşama kadar itlik kopukluk serserilik. "

"Yok yahu ne davetiyesi. Almıyorlar bizi oralara. Kız yok kız olsa gireriz de işte" dedim ve devam ettim "Meyhanede votka içtik. Votka beni öğürttü. Saint Cihangir de cila çektik. Melov'un evinde de Öküzgözü içtik biraz."


"Bana aktarıldığına göre Petersburg Kız Meslek Yüksek Okulu'nun çevresinde de çok bulunmaya başlamışsınız, özellikle çıkış saatlerinde. Üstelik yediğin tek halt da bu değil. Arabayı benden habersiz kaçırmaya başlamışsın. At arabası bu,  anlamadığımı mı sanıyorsun. Ayrıca geçen gün işyerime uşak vasıtasıyla bir pusula göndermişsin; " Baba bu akşam eve gelme, evin boş olması lazım." demişsin. Sendeki bu değişikliği aklım almıyor"

"Baba evde 4 tane hizmetçi var. Odamda bile bir türlü yalnız kalamıyorum, sürekli tedirginlik içindeyim. Bir gün eve kız getirelim demişiz çok mu?"


"Bu uçarılıklarına daha fazla katlanabileceğimi zannetmiyorm Aleksey. Merhum deden Constantinopol sefiri şahin lakaplı Salvio kavlen Osmaniç' e böyle mi layık olacaksın."
" Baba deveyi pire yaptın ha " dedim. "Ayrıca dedem sefir değil katipdi. Lakabı da "Gavat" Salvio'ydu. Bunu bir tek siz anlamıyorsunuz"

" Yeter!" diye bağırdı. Masa üzerindeki şarabı göstererek "Şu Mesihin kutsal suyuna and içerim ki, seni yarından tezi yok memleketin en doğusuna, Karstaki garnizonlardan birindeki Yüzbaşı Reziviç' in emrine göndereceğim. Türklerle savaş da aklın başına gelsin."

"Tövbe de baba ijkiye kutsal diyorsun çarpılacaksın" dedim. "Ayrıca peygamber ocağıdır sakınacak değiliz. St. Petersbugdaki her genç gibi ben de vatani görevimi yapmaya hazırım"

Eliyle çekilebilirsin manasına gelen bir işaret yaptı. Hava kararıyor, Petersburg ağır kan kaybetmiş bir Tatar'ın ölümü kabullenişi ve teslimiyeti gibi kar yağışına katı bedenini teslim ediyor, benim ise midemde bir takım hareketlenme oluyordu. Votkayla birayı karıştırmayaydım iyiydi. Helaya yöneldim.